Back and Forth: Breaking Down the Gotham Award Nods
by indieWIRE (October 19, 2009)
Patton Oswalt in a scene from Robert Siegel's "Big Fan," which received three Gotham Independent Film Award nominations earlier today. Image courtesy of the film's official website.
Awards season is officially underway with the announcement earlier today of the 2009 Gotham Independent Film Award nominations. indieWIRE‘s Eugene Hernandez and Peter Knegt chatted via instant messenger about the nominations and what they mean heading into awards season. Eugene Hernandez: So, here we are again. Last year we chatted shortly after the Gotham Award nominations were announced and like it or not. Now we’re back again to kick-off the seasons. The Gotham nominations offers a sort of soft launch for nominations announcements. First off, I have to say Tony Scott’s rather ill-timed joke got things off to a weird start: “I had nothing to do with this,” he said, “I am only reading the nominations. Chances are I probably hate most of the movies that are nominated.” You’re in London, but here in the iW office, we laughed out loud. Peter Knegt: I awkwardly chuckled to myself here as well. And after seeing this generally strange batch of nominations, I’m wondering whether it was a joke or not. EH: Well, I guess it depends how he feels about “Precious.” That was a surprise exclusion from the nominating committee (that included Raj Roy, from MoMA; Lisa Schwarzbaum from EW; Dana Stevens, from Slate.com; and Kenny Turan, from the LA Times). Other surprises? PK: “Goodbye Solo”‘s snub in the best feature category in favor of well-liked but certainly not superior films like “Amreeka” and “Big Fan.” “Sin Nombre”‘s complete shut out, particularly in the breakthrough director category…and “Humpday”! I would have loved to see that get some love here. I mean, it’s generally a worthy batch of films, and I was kidding about questioning Scott’s intent. But there’s definitely some big omissions. Though perhaps they weren’t submitted for consideration; you never know.
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And let’s not leave out TYSON!
I’m banking on HURT LOCKER to win in every category it was nominated in. DERICK MARTINI or ROBERT SIEGEL for breakthrough director. Leaning towards Martini because I loved Lymelife and only liked Big Fan. SIN NOMBRE got screwed. Maybe because it was foreign? Who knows? ADVENTURELAND was OK but it is not really as indie as the other films announced. JEREMY RENNER (although BEN FOSTER’S time is due), THE CAST OF HURT LOCKER AND DERICK MARTINI. If BIGELOW was a first time director she’s sweep it ALL.
@bwayphan - IFP is a not for profit which, like so many arts organizations, is in need of money to run the programs they offer filmmakers all year round. Yes, the award bring in revenue but its badly needed to keep the organization running. Just about all awards work this way from the Emmys to the Spirits - not sure about the Academy - I forget.
Also, wasn’t Precious NOT nominated because it has not been released yet? Hasn’t it only been seen at Festivals?
Yes, some surprising omissions and some weird nominations—but, what else is new? (Same goes for the Indie Spirit Awards.) The most positive thing is that there are so many worthy films that came out this year, and not all of them can be nominated.
One strange nomination (to me) is the breakthrough nom for Ben Foster. He’s been giving impressive performances ever since LIBERTY HEIGHTS in 1999. Jeremy Renner has been around even longer, but has kept pretty much below the radar (kind of like a stealth bomber who finally hit the target big time). Foster, however, has been explosively in our face for quite awhile now. (ALPHA DOGS, anyone?) Still, congrats to him and all the worthies.
Here’s the thing they don’t tell anyone: SUBMISSION FEES:
$100 entry fee per film for films released theatrically by a distributor. $50 entry fee
per film for films self-distributed by the filmmakers. (Films submitted for
consideration in more than one category need only submit one entry fee.) Checks
should be made payable to IFP and enclosed with entry forms and screeners.
It costs money to enter and get an award. The fees are even higher for the Spirit Awards. These awards shows are super profitable for the organizations that run them, why should films need to pay to be considered for an award?